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ortant Oil Paintings. 
—by Great Masters 


: tie: Harry B. Dean 
he Late George Stevenson 


Gad from bther sources 


Under the Management of © 
SAMUEL T. FREEMAN & co. 


Auctioneers 


80 Federal Street 
Boston, Mass. 


My? 


ILLUSTRATED CATALOGUE OF 
A Collection of 


Important Oil Paintings 
By Great Masters 


of the American and European Schools 


from the collections of 
Mrs. Marcaret Laura Kiauper Mr. Harry DEAN 
The late Grorcr STEVENSON 

and from the collection of 


A PROMINENT PHILADELPHIAN 


To be sold at Public Sale 


Monday and ‘Tuesday 


March 8 and 9, 1926 
at 2 P. M., each day 


bd THE ART GALLERIES 


of 


SAMUEL |. FREEMAN & COMPANY 
Auctioneers - 1808-10 Chestnut Street 
: Philadelphia 


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TERMS OF SALE OF PERSONAL PROPERTY. 


SPECIAL NOTICE—No employee is authorized tc alter these terms. 


Bidders take notice: That by bidding they acknowledge to have full knowledge of these 
terms and agree to be bound thereby. Bidders shall be held liable under the Terms 
of Sale for every article knocked down to them. 

The cones reserve the right to add one or more terms to the following Terms of 

e. 


1 The highest bidder to be the buyer, subject to the terms of sale, and if any dispute arises between 
two or more bidders, the Auctioneers shall either decide the same or the lot so in dispute shall be im- 
mediately put up again and resold. The Auctioneer’s decision shall be absolute. 

2 Any bid which is merely a nominal or fractional advance may be rejected by the Auctioneer if in 
his judgment such bid would be likely to affect the sale injuriously. : 

' 3 Every article sold singly; nothing sold by the pair. 

4 Purchasers shall give names and addresses and make a deposit of 25 per cent. of the bid, or so much 
more (up to the full amount bid) as the Auctioneers may require. On default of such deposit being 
made, the lot may be immediately put up again and resold. 

_5 All deposits made are applicable to any or all purchases either at this sale or at any previous sale. 

6 The lots to be taken away and paid for at the buyer’s risk and expense within the time announced 
by the Auctioneer, the Auctioneers not being responsible for the correct description, genuineness, 
authenticity or defect in any lot, and making no warranty in connection therewith. No sale will be 
set aside nor allowance made on account of any incorrectness, error in cataloguing, or any imperfection 
not noted. No deduction on damaged articles, all goods are exposed for public exhibition, and sold 
a oe and without recourse. Purchases will be delivered only upon presentation of receipted bill 
therefor. 

7 To prevent inaccuracy in delivery and inconvenience in settlement of the purchases, no lot can 
on any account be removed during the sale; and the remainder of the purchase money must absolutely 
be paid within the time announced by the Auctioneer, or as set forth in these terms, and before the 
examination or removal of the goods. 

8 The time allowed for payment of hills and removal of goods is either printed in the catalogue or 

- announced by the Auctioneer and can always be obtained from the office of the Auctioneers. It is the 
duty of all purchasers to inform themselves thereof and no responsibility shall rest upon the Auctioneer 
by reason of the purchaser’s ignorance thereof. 

9 All purchases made at this sale are at the purchaser’s risk as soon as they are struck off; and de- 

_ posit made; the Auctioneers not being responsible if all or any part of such purchases be lost, stolen, 
damaged or destroyed; however, without assuming any responsibility the Auctioneers will take all usual - 
precautions for the care and protection of the goods during the time allowed for the removal thereof. 

10 All claims must be made before the removal of the goods. 

11 In case of purchases for which settlement is required by estimated or actual weights, counts or 
measures, no adjustments will be made after the time allowed by the Auctioneers for the removal of 
the purchases. No adjustment made on items sold by the lot. 

12 The record kept by the clerk of the sale, together with the marked catalogue of the Auctioneers, 
shall in all cases be accepted by the buyers as final when any question arises. 

13 In addition to any other remedies given by law to the seller and to the Auctioneer, it is agreed 
that in case of failure by the purchasers to comply with these terms, all money received as deposit or 
otherwise, may be retained by the Auctioneers; all lot nots paid for and removed within the time allowed 
under the terms, may be resold at public or private sale without further notice and any deficiency 
attending such resale shall be paid to the Auctioneers by the purchasers at this sale, together with al} 
charges and expenses incurred by reason of failure to comply with the terms of sale. 

14 The Auctioneers shall not be liable for non-delivery or for any other thing to any purchaser of 
any lot other than for the return to the purchaser of the deposit or sum paid on said lot. 

15 Commissions to purchase will be executed by the Auctioneers without charge, such purchases, 
however, being made subject to the terms of sale. 

; In a of lots upon which there is a reserve, the Auctioneers shall have the right to bid on behalf 
of the seller. 

17 All sales made by order of the Court are subject to the confirmation of the Court ordering the 
sale. The Auctioneers reserve the right to reject any or all bids. ‘ 

18 Deposits must be paid in cash or in certified check. Deposit receipts must be returned to the 
representative of the Auctioneers at time and place of payment of bill or no credit can be allowed there- 

or. 

19 In cases where items are sold by estimated weight, count or measure, the purchaser will be billed 
for and required to pay for the estimated weight, count or measure. If any shortage be shown upon 
delivery the purchaser will be rebated therefor at the rate of purchase. If there be an excess over the 
estimated weight, count or measure the purchaser agrees to take-such excess at the rate of purchase. 

20 In every case where samples of the lots are shown, these samples to the best of our belief are 
true and fair, but bidders are cautioned that they must make examination of lots before the sale and 
no allowance will be made on account of any difference between the sample and the lot. The location 
of every lot is obtainable from the Auctioneers and it is the duty of purchasers to make examination 
before the sale. In cases of lots sold by description, the information has been obtained from reliable 
sources and is believed to be correct, but cannot be guaranteed. ' : 

21 The Auctioneers are in no manner connected with the business of the cartage or packing and 

shipping of purchases, and although they will afford to purchasers every facility for employing careful 
carriers and'packers, they will not hold themselves responsible for the acts or charges of the parties 
engaged for such services. halk 

22 The Auctioneers reserve the right to withdraw from sale any of the property herein listed or to 
sell at this sale property not herein listed, and also reserve the right to group one or more lots into one 
or more selling lots or to subdivide lots into two or more selling lots. Pel eee 

23 The Auctioneers are acting as agents only and are not responsible for the acts of their principals. 


“MARCH 8, 1926 


At 2 P.M. 


“ 


tf 


No. 1 


CHARLES LINFORD 
(Contemporary) 


Landscape 


In the foreground a rocky road winds up and around a hill abounding in 
saplings and partly walled with red rocks, at the brink a frame building points 
up sharply. 


Signed at lower left. 


Canvas 16x21 inches. 


No. 2 
GEORGE R. BONFIELD 


(American) 
Landscape 


A river with boats plying, on the left a mountain range, a rounding shore in 
the foreground with rocks and figures of people form a pleasing landscape. 


Signed at lower right. 
Canvas 37x55 inches. 


No. 3 
ARTIST UNKNOWN 
Pastoral 


On an open sward beneath the shade of trees the little cupids are gathered, 
holding their revelries, some nude and others draped in colorful fabrics. 


Panel 1214x16 inches. 


No. 4 


FRANCOIS AUGUSTE ORTMANS 
(Belgian) | 


The Gathering Storm 


From the foreground a roadway winds through a rocky landscape turning 
at the brink of a hill which is capped by cultivated fields and tall trees. Heavy 
dark storm clouds roll in from the left while at the right the sky is still bright 
with gathering white clouds and patches of blue. 


Canvas 14x21 inches. 


Pupil of Theo. Rousseau. 


No. 5 


EMILIE LOUIS MATHON 
(French) 7 


The Lieutenancy at Honfleur 
An architectural composition. 
Signed at lower left. 
Panel 1314x24 inches. 
Pupil of Ch. Daubigny. 


No. 6 


JEAN BAPTISTE PAUL. LAZERGES 
(French) 


Road Near Algiers 


A rugged rocky landscape, the waters of a mountain torrent winding through 
glens, to a cascade in the foreground. 


Signed at lower right. 


Panel 1014x16 inches. 


No. 7 


ERNEST CROFTS 
(English, 1847) 


Napoleon at Waterloo 


Napoleon sitting at his desk, outside of his tent, with some papers which 
he has spread before him. A sentinel stands at attention a dozen paces away 
and others are scattered about nearby. Near the entrance to the tent several 
officers are standing. : 


Signed at lower right. 
Canvas 14x18 inches. 
: No. 8 
JEAN BAPTISTE PAUL LAZERGES 
(French) 


Selim PF Stamboul 
Bust portrait, facing three-quarters left. 
Signed at upper left. 
Panel 814x634 inches. 


No. 9 
C. SCHLESINGER 
The Reformation—Luther Burning the Papal Bull 


The composition shows Luther and his followers—men, women and children, 
gathered in the open roadway about the fire and watching the proceedings, some 
In gorgeous costumes and others in the plain dress of the people. 


Signed at lower left. 
Canvas 31x40 inches. 


No. 10 
CH. SCHLESSINGER 
Evening 


In a boat rowing away from a monastery, an aged friar, a younger one, two 
young pages and a young girl sit. Another figure seeing them off, stands in the 
shadow of a doorway in the great wall behind them. The moon is seen rising 
above the hills in the background. 


Signed at lower left. 


Canvas 29x41 inches. 


Nove 
A. D. GIBSON 
Canal at Sluss Zeeland 


Through an avenue of tall thin trees the waters of the canal are seen catch- 


ing the reflections. On the left bank a red-roofed barn and farmland stretching 
away to the horizon. 


Signed at lower left. 


Canvas 32x251% inches. 


No. 12 
W. J. POTTER 


Landscape 


The lowlands of an expansive heath on a day when the sky is filled with 
low dark clouds and with but little blue appearing. Many miles of country are 
spread before the eyes. In the distance a range of low hills bounds the view, 
lying under brighter skies. In the middle distance rises a wooded hill, from 
which a stream winds into the foreground of green meadows. 


Signed at lower left. 


Canvas 21x27 inches. 


No... 43 


FRANCISCO GUARDI 


(Italian, 1712-1793) 
| O-©, 


Venice. 


A view of St. Mark’s Square from the Canal, which runs transversely across 
the foreground. 


Canvas 8x11 inches. 


No. 14 
EUGCIUS ROSSI 
The New Catch 


The sea runs in from the left to a shore bordered by cliffs. Anchored off- 
shore is a fishing boat surrounded by rowboats. On the shore in the fore- 
ground a fisherwoman is displaying fresh caught fish to a lady and gentleman, 
he in the garb of a French nobleman, and she in a pink and white dress. 


Signed at lower right. 
Panel 16x12 inches. 


Pupil of Fortuny. 


No. 15 


VIOLLET LE DUC 
(French, 1817-1878) 


Port de Trouville 


An afternoon scene at a popular French watering-place. On the river are 
boats with their sails set and'the high green hills of the background are dotted 
with villas. | 


Signed at lower left. 
Canvas 14x11 inches. 


Exhibited at the Salon in Paris, 1888. 


No. 16 


FRANCESCO VINEA 
(Italian) 


In the Dock at Marseilles 


Several boats are anchored in the basin with sails unreefed, and a man on 
the shore, a boy and a girl sitting on the ground, figures on the quay, and fisher- 
man spreading a net give life to the scene. 


Signed at lower right. 


Canvas 9x13 inches. 


SNeoan7 


GUSTAVE DE JONGHE, 
(Belgian, 1828-1892) 


Waiting to Receive 


The figure of a young woman reclining on a comfortable arm chair in a 
luxuriously furnished room. 


Signed at lower right. 
Panel 24x19 inches. 


No. 18 


KARL PIERRE DAUBIGNY 
(French) 


y 0. 


A Threatening Day 


Heavy dark clouds hang over an old French village nestled under the shadow 
of a high hill. The grey walls and red roofs seem to catch the dullness of the 
clouds. On the left the corner of the woodland appears and in the foreground 
are figures of two women and some geese. 


Signed at lower left. 


Cradled Panel 18x21 14 inches. 


No. 19 


JEAN BAPTISTE PAUL LAZERGES 
(French) 


Treading Out the Grain 


The grain spread in a circle on the ground is being trodden by two oxen, 
which are guided by a peasant in the centre. The quiet landscape is bordered 
by mountains on the left, with the glimpse of a river flowing along the base. 


Panel 10x14 inches: 


No. 20 


L. SAMBUSSETI 
~ (Italian) t 


Water Color—In the Ampitheatre 


The figure of a Spanish toreador, garbed in gold embroidered blue costume 
stands at full length gazing toward the left, his ids turned from the arena where 
thousands of people fill the tiers. 


Signed at lower right. 
Water Color 30x22 inches. 


No. 21 


THEODORE ROUSSEAU 
(French, 1812-1867) 


Autumn Sunset 


Trunks of old trees bend over the landscape, with the figure of a man 
plodding his way along a narrow path, while the last rays of the setting sun 
light} the hills. 


Panel 516x6 inches. 


No. 22 


PIERRE BILLET 
(French, 1837) 


Algerian Landscape 


A mansion with white walls, surrounded by trees and foliage. On the 
horizon hills extend across the composition, grey clouds filling the sky to the 
horizon. 


Signed at lower left. 
Canvas 17x12 inches. 
Pupil of Jules Breton. 


No. 23 


LOUIS GALLAIT 
(Belgian) 


Water Color—Watching on the Shore 


On the rocks by the shore of the sea a mother sits holding her sleeping 
infant, her eyes fixed toward the horizon. A storm is driving in from the sea, 
lashing the waters and dark clouds have enveloped the sky except for one small 
spot of blue. — 


Sened at lower right. 
Water Color 20x15 inches. 


No. 24 


JUAN DEL CASTILLO 
(Spanish) 


Adoration of the Blessed Sacrament 


i 0. The Sacrament is being celebrated by patriarchs, who sit around an altar. 
A Nimbus surrounds the head of each. The holy rite is being observed from 
above by Christ, who is borne on a cloud by cherubims, with a saint on the 
right accompanying him. 


Signed at lower edge of altar. 
Canvas 78x66 inches. 


No. 25 


GEORGES MICHEL 
(French, 1763-1843) 


Ts; 


The foreground lies under the pall of a low dark storm cloud, above which 
_ the sky is veiled in grey. Three windmills occupy an eminence in the fore- 
ground, from which the view carries across the low lying country to rising 
hills along the horizon. The middle distance is brightened by a river running 
across the composition. 


Gathering Storm in Holland 


Canvas 24x19 inches. 


No. 26 


JEAN GEORGES VIBERT 
(French, 1840-1892) 


Awaiting the Contest 


Scene at the arena of Spanish bull-fight in which are gathered a colorful 
assemblage anxiously awaiting the appearance of the contestants. 


Signed at lower left. 
Cradled Panel 10x1414 inches. 


No. 27 


WILLIAM TROST RICHARDS 
(American, 1833-1905) 


Water Color—Cliffs of St. Sevan 


A view from the fishermans’ village on the low shore opposite the high 
cliffs, where a short arm of the sea runs in. The verdant splendor of the cliffs 
are here well shown, as well as the wonderful technique of the rocks and their 
surroundings. The blue waters of the sea flows in from the right reflecting 
the strips of clear blue evening sky, while overhead dark misty clouds are clos- 
ing over, and fog banks obscure the horizon. 


Signed at lower right. 
Water Color 23x37 inches. 


No. 28 


ALEXANDER CABANEL 
(French, 1823-1889) 


Girl and Parrot 


Figure of a beautiful young woman of Damascus, sitting on a chair, her 
al Gs O head thrown upward to the left, where on her extended finger she holds a 
parrot which she has taken from the cage below it. The background displays 

an open bit of landscape and sky, seen over the wall to the left. 


Signed at right. 
~ Canvas 32x26 inches. 


From the Waite Collection. 


No. 29 


JOHN W. CASILEAR, N. A. 
(American, 1811-1893) 


The Genessee Flats 


Many miles of grassy landscape are brought to view, reaching into the 
misty distance on the left. Huge old trees reach against the sky in the distance 
where they point out into the open plain, with sheep grazing in the distance. 


Signed at lower right. 


Canvas 11x18 inches. 


No. 30 


FRANKLIN DEHAVEN, N. A. 
(American, 1856) 


Moonlit Landscape 


An old cart road rising in the foreground, winds up and around a hill to 
the right, disappearing behind a clump of trees where farm buildings stand. 
On the left of the road stand a bare tree trunk and a clump of oak trees just 
inside the roadway. 


Signed at lower left. 


Canvas 16x20 inches. 


No. 31 


CHAS. WARREN EATON 
(American, 1857) 


Pines at Evening Ss 5, 


The last rays of the setting sun reach across the sky in a golden glow above 
a bank of dark clouds. On the left crowning a low hill a grove of pine trees 
stand, with two taller ones apart on the slope reaching up out of the picture. 


Signed at lower left. 


Canvas 12x16 inches. 


No. 32 — 


JULIAN RIX 
(American, 1851-1903) 


Wi conand Landscape 


A bold and roughly sketched landscape on a November day, with masses 
of slender trees, the ground covered with moss and scaly rocks, logs and fallen 
leaves, under a bright sunlit atmosphere. 


Signed at lower left. 


Academy Board Panel 13x18 inches. 


No. 33 
JAMES HARDING 


Roman Landscape 


An ancient landscape, the foreground on the left occupied by giant trees, 
beneath which is a group of persons and two goats. A stream flows across in 
the middle distance where a cascade empties its waters from behind a wall of 


rocks, beyond which the open country rises to a mountain range in the back- 
ground. 


Canvas 30x40 inches. 


No. 34 

H. HONDECOETER 
5S. Eagle and Fouls | 
An eagle is being challenged by a rooster, which with ruffled feathers is 


making toward the unruffled eagle, which is about to fasten another fow] in its 
talons. Classic landscape background. 


Panel 29x40 inches. 


No. 35 


FREDERICK CHURCH 
(American, 1842) 


Landscape 


An enchanting tropical landscape. In the foreground is a river bordered 
with tall palm trees and bright tropical plants, their bright colors accentuated 
by the sunrays, and in the middle distance a range of hills rise. 


Signed at lower right. 
Canvas 30x25 inches. 


No. 36 
HAL ROBINSON 


(American) 
Landscape 


On the left a broad river stretches, its right bank bordered with thin trees 
and mazy foliage. On the left bank low hills stretch into the distance. 


Signed at lower right. 


Canvas -20x30 inches. 


No. 37 
R. SWAIN GIFFORD 


(American) 
Freighting Boats on the Nile 


Gathered close in shore the picturesque masts and sails of the typical Nile 
boats show, with their boatmen watching the desert. 


Signed at lower right. 
Canvas 14x27 inches. 


No. 38 
ANTONIO MORO 
Bust Portrait 


Portrait of a Spanish nobleman of the XVI Century, with slight brown 
chin beard and moustache. He wears a black coat with standing close collar, 
~ above which is a white ruff, and on his head a low-crowned cloth cap. Neutral 
background of dark brown. 


Cradled Panel 18x14 inches. 


No. 39 


HENRY GOLDEN DEARTH 
(American, 1864-1918) 


Landscape 


D 
5 A long panorama of low hills against the sky on the horizon. Clumps of 
foliage, sand dunes and pools of water form a colorful foreground, under a hazy 


blue sky. 
Signed at lower right. 


Canvas 16x32 inches. 


No. 40 


GEORGE MORLAND 
(British, 1763-1804) 


Mare and Foal 


aT 
+ 
u ° O This rustic characterization of horses is one in which the artist has placed 
significant touches of his art. Standing at the stable door an old brown mare, 
with white nose and feet, is sniffing the air, and shielding her young foal which 
stands beside her. In the middle distance a horse moves away toward pasture, 


over the stony background. Illustrated in the Masterpieces of Morland, by 
Frederick A. Stokes & Co. 


Canvas 12x15 inches. 


From the Bacon Collection. 


No. 41 
PHILIP WOUVERMAN 


(Dutch, 1614-1668) iy 
(pe 


Travelers. 


Through a rocky country, two men on horseback traveling slowly along a 
mountain road. The foremost one has stopped to let his horse drink from a 
pool. A man with a pack walking with his dog accompany them. 


Panel 1114x8 inches. 


No. 42 


ALFRED STEVENS 
(Belgian, 1828-1906) 


The Letter 


Interior of a richly furnished room. Standing against a table the full 
length figure of a young woman, dressed for a stroll, reading a note which evi- 
dently accompanied the bouquet of flowers lying beside her. 


Signed at right. 


Canvas 19x13 inches. 


No. 43 


EUGENE LOUIS BOUDIN 
(French, 1824-1898) 


e Venice 
340, 

Looking across the blue waters white marble domes, towers, and walls 
stretch across the picture. Gondolas, gondoliers, and their gaily dressed pas- 
sengers appear on the canal and the bright red roofs rise in the distance against 
the hazy grey atmosphere. 


Signed at lower right. 
Illustrated 


Panel | 8x27 inches. 


No. 44 
J. B. DESCHAMPS 
Sheep in the Fold 


9 O. The interior of a great barn, with the sheep herded in, and picking about 
the straw-strewn floor or lying at rest. On a manger top a white hen is perched, 
and others peck about the floor. The shepherdess is seen in the shadows at 
the rear. Landscape is seen through the doorway where the light falls. 


Signed at lower left. 
Canvas 28x36 inches. 


No. 45 


JACQUE DE ARTHOIS 
(Dutch, 1613-1666) 


Classic Landscape 


(oF 

bc An ancient landscape with a river running across, the ground rising in the 
distance bordered by blue hills. The figures of several people are seen in the 
foreground, and on the left are tall old trees with bent trunks, while the late 
afternoon sun tints the horizon. 


Canvas 33x43 inches. | 


No. 46 


A. VOIGT 
(French) 


Shepherd 


On the edge of a wood the shepherd has led his flock which are making slow 
progress toward the spectator. To the left the low landscape blends into a 
distant line of trees and golden fields. 


Signed at lower left. 
Canvas 20x28 inches. 


No. 47 
ED. HAMMAN 
W inter 


A small boy is being brought to the door of a stately mansion by a young 
maid. He bears strapped on his shoulder a cage containing a small animal. 
His clothing ragged and his face careworn as he looks up toward the girl’s 
mother, who is standing on the step. 


Signed at lower left. 


Canvas. 


No. 48 
A. JACORACCI 
A New Acquisition. 


The interior of a sumptuously furnished room, with a lady in rich brocaded 
dress scrutinizing a small picture which she has placed upon a chair for this 
convenience. 


Signed at lower right. 
Canvas 1814x1414 inches. 


No. 49 
C. WAUTERS 


5 XL. In a classic landscape of blue tone, a young girl, barefoot, has picked a 
choice burden of flowers which she carries in her hat and her apron. 


Signed on bach. 


Panel 1014x814 inches. 


No. 50 
JAY CONNAWAY 
Sunlit Rocks, Maine 


A strong and bold composition of the sea breaking against massive rocks 
on the Maine coast, on a clear day under a pale blue sky, with sunlight filtering 
through the angry billows and capping the dark rocks. 


Signed at lower right. 


Academy Board Panel 15x24 inches. 


No. 51 


PHILIP DE CHAMPAIGNE 
(French, 1602-1674) 


Marshal Turenne {Ue Ce 0, 


Bust portrait in armor, three-quarters to the right, his dark eyes directed 
toward the spectator. He has long soft grey hair falling to the shoulders, a 
strong face and marked features. He wears a deep white collar bordered with 
lace, armor with decorations and stands against a dark neutral background. 


Oval Canvas 29x23 inches. 


No. 52 


THOMAS HUDSON 
(British, 1701-1779) 


Mrs. Mary Deck 356. 


Three-quarter length portrait, standing three-quarters to the right, with 
head turned toward the observer, against a landscape background of dark 
tones. 


anya: 50x40 inches. 
From the Arthur Tooth Collection. 


No. 53 


FRANCIS COTES 
(British, 1725-1770) ~~ o0- 


Portrait of Lady Moore 


Three-quarter length standing portrait, body three-quarters to the left, 
head toward and looking at the observer, right hand resting on a table, and the 
left hanging at the side. 


Canvas 48x33 inches. 


From the Carroll Collection, London. 


No. 54 


LOUIS DAVID 
(French, 1748-1825) 


(Portrait In Crayon) 


Portrait of a French gentleman. Sitting three-quarters to the right, with 
left arm resting on a book and right hand thrust beneath his white waistcoat, 
his head toward the front, looking at the observer. He has long black hair 
brushed forward and over the forehead, short side whiskers, and deeply set 
brown eyes. He wears a grey cutaway coat with deep turned collar, deep white 
kerchief and collar, and short buff breeches, buttoned at the knees. 


Colored Pastel Crayon Drawing. 


Panel 36x2814 inches. 


No. 55 


EUGENE FROMENTIN 
(French, 1820-1876) 


Turkish Landscape QO, 


Behind a grove of tall palms, towers and tall buildings rise silhouetted 
against a bright oriental sky. In the foreground a narrow strand runs across 
the picture where men water horses. 


Signed at lower left. _ 
| | ~ Panel 22x31 inches. 


No. 56 


GUSTAVE COURBET 


(French, 1819-1877) 
(9.0: 


Winter Landscape 


A broad vista of sloping hills, covered with snow and frozen streams. In 
the middle distance tall tree trunks rise about a farmhouse with its surroundings, 
and on the hill-tops, beyond villas, churches and other buildings show against 
the dark grey sky. 


Signed at lower right. 
Canvas 24x20 inches. 


No. 57 


CHAS. WAUTERS 
(French) 


French Billiard Salon : | of cm 


Gathered about a billiard table are several figures, some engaged in a game _ 
and others interestedly looking on. Adjoining this room another appears on 
the right, where many other persons are gathered. 


Signed at lower right. 
Panel 18x23 inches. 


No. 58 
PAUL A. DOUGLASS 
Portrait Study of a Girl 


_A young girl with reddish blond hair, three-quarters length, sitting in a 
chair beneath a tree. Her body is turned to the left, while her head is turned 
front, against a landscape background of dark blue, red and green tones. 


Signed at lower right. 
Canvas 30x25 inches. 


No. 59 


ALBERT P. RYDER 
(American, 1848-1914) 


Lf} 0. Moonlight Marine 


Floating about in the dark green waters of the sea a small boat of ancient 
type is struggling. Figures scarcely perceptible appear aboard of her. 


Cradled Panel 12x12 inches. 
Authenticated by Elliot Daingerfield. 


No. 60 
CG “RICHTER 
Oriental Bust 


Head and bust of an Oriental woman, head turned slightly and looking 
toward the left. 


Signed at lower right. 


Canvas 14x20 inches. 


No. 61 


JEAN BAPTISTE ISABEY 
(French, 1767-1859) 


CO. 


An Oriental city with picturesque balconied dwellings. A narrow street 
stretching back from between two corner buildings, along which figures of 
several women are seen. Rugs, lanterns and gay fabrics hang from the windows. 
The architectural beauties deftly pictured in sunlight and shade among the 
grey, buff and brown tilings. 


Street Scene 


Signed at lower left. 
Panel 16x12 inches. 


No. 62 


NARCISSE DIAZ 
(French, 1807-1876) 


A Nook in the Woods OD. 


The foreground is a mass of grey and dark-colored scaly rocks, clustered 
about the black trunks of old trees in deep shade. Through an opening a view 
of the distant landscape under a sunlit sky is seen, the light falling from the 
left. 


Signed at lower right. 
Panel 8x12 inches. 


No. 63 


GUSTAVE COURBET 
(French, 1819-1877) 


h NO , Spring Landscape 


On the right a wall of strong grey rocks rise sharply from the ground. On 
the left against a sunlit sky the tall thin trees are putting out in blossom. The 
ground is covered with blossoming brush and velvety green rolling landscape, 
with winding paths. 


Signed at lower right. 
Canvas 18x23 inches. 


No. 64 


JOSEF ISRAELS 
(Dutch, 1824-1911) 


Woman Sewing 


A Dutch interior with plain furnishings. A woman sitting on a chair is 
occupied with her sewing, the light falling from the window at the left on her 
white cap and blue dress. 


Signed at lower left. 


Canvas 24x19 inches. 


No. 65 


GEORGE MORLAND 
(British, 1763-1804) 


Donkey Stable 


The interior of a stable, showing two donkeys—one standing across the 
picture and the other lying on its haunches on the straw-covered floor. Through 
the doorway a country landscape appears. 


Canvas 8x12 inches. 


No. 66 


GILBERT STUART (Attributed to) 
(American, 1755-1828) 


SO! 


Head and bust of an English gentleman of early days. Bust three-quarters 
to the left, head turned slightly looking toward the observer. He has grey 
hair with slight puffs at the side, full round face of ruddy complexion and 
blue eyes. He wears a grey coat cut low in front, with high velvet collar turned 
down at the back, a light waistcoat with tall straight collar, encompassing a 
double chin and revealing a white jabot, seen against a neutral background of 
brownish tone. 


Portrait of an English Gentleman 


Canvas 26x21 inches. 


No. 67 


HOMER D. MARTIN 
(American, 1836-1897) 


5S 0, On Lake George 


The placid lake in the foreground is marred only by a few ripples cast in 
shore by a fresh evening breeze. On a high knoll at the left is an old tree, its 
black trunk bending forward. On the further bank tall mountains reach to 
the edge, one bathed in red tints, another in darker shade, and further in the 
background a tall peak of purple hue blends into the misty atmosphere of the 
lake.. Delicate prismatic shadows fall in the water from a late afternoon sun 
when the light is gold and crimson, and reflects rays on long strata of evening 
clouds blending with unusual faintness. 


Signed at lower left. 


Illustrated 
Panel 24x35 inches. 


‘ON 


£9 


No. 68 


JEAN CHARLES CAZIN 
(French, 1841-1901) 


4 ay 0 The Rainbow 
The landscape pictures a wheat field after a shower of rain, running across 

the foreground. In the background a diversified low landscape with houses, : 

trees and rocks emphasizing the straight line of the horizon. On the right a 


rainbow is seen over the storm clouds diffused with orange, red and grayish 
tints. 


Signed at lower right. 
Illustrated 


Canvas 22x15 inches. 


No. 69 


ALEXANDER H. WYANT 
(American, 1836-1892) 


A Vermont Landscape 


iS 4 O A fertile valley between gently sloping hills, in a well-cultivated farming 
district with an endless patchwork of fields, orchards, and woods on all sides. 
Boulders, hummocks, bush and flowering weeds abound, and the farmhouses 
and other buildings lend their touch to the charming domestic scene. Low 
purple hills in the distance rise against a blue summer sky, overcast with filmy 
grey clouds. 


Signed at lower left. 
: Canvas 1414x22 inches. 
From the Chambers Collection. 


No. 70 


FRANCIS J. MURPHY 
(American, 1853-1921) 


niet Or W inter 


A midwinter landscape with the ground covered with snow, lying under 
grey storm clouds. The old snow-banked blacksmith’s shop on the road at 
the left shows little signs of life save for the smithy’ himself, who is seen doing 
some chores. Beyond the houses of the village, setting low, look cold and 
dismal among the snow-covered tree trunks. 


Signed at lower right. 


Canvas 914x13 inches. 


From the Hubbard Collection, Boston, Mass. 


No. 71 


SIR WILLIAM BEECHEY 
(British, 1753-1839) 


Portrait of Captain Beechey 35 O. 


Nearly half length, bust to the front, in uniform with epaulettes. The 
face is round with ruddy complexion, eyes brown and looking straight at the 
observer, high forehead, soft grey hair and slight side whiskers, against a dark 
mottled background. 


Canvas 30x24 inches. 


No. 72 


SIR HENRY RAEBURN 
(British, 1756-1823) 
) 3, 


John Macintosh of Aberarder 


Half length portrait, head and body three-quarters to the right, the light 
brown hair turning grey, brushed back from the forehead. The strong promi- 
nent features and ruddy complexion are finely composed. He wears a dark 
coat of brown tones with high rolling collar and a white kerchief, seen against 
a neutral background of brown tones. 


Illustrated 
Canvas 30x25 inches. 


From the Collection of Leopold Solomon, Norbury Park, near Dorking, 
England. 


No. 73 


SIR THOMAS LAWRENCE 
(British, 1769-1830) 


32.5, 


Half length portrait in official robes, with ermine cape and brocaded coat 
and waistcoat. Body slightly to the right, head front, looking at the observer. 
Strong features and ruddy complexion, hazel eyes, the thin grey hair falling 
carelessly over the forehead and ears. A neutral background of dark tones. 


_ Earl of Hardwicke (Third Earl Lord Lieut. of Ireland) 


Canvas 34x28 inches. 


No. 74 


~GEORGE MORLAND 
_ (British, 1763-1804) 

| b 8-0. 

A Gypsy Camp 


A camp in a thick wood, beneath an old tree, whose heavy branches shelter 
the gathering. The figures are that of an old woman in cap and brown cloak, 
a man and his wife, a little girl, and an infant in the mother’s arms, gathered 
about a camp fire. Beyond is a distant indefinite landscape under a deep 


blue sky. 
Signed at lower right. 
Cradled Panel 13x17 inches. 
Authenticated by Dr. G. Muller, January 30, 1925. 


No. 75 


JEAN BAPTISTE PAUL LAZERGES 
(French) : 


A Woman of Soutari 


Bust portrait. Head turned in profile to the right. The dark eyes cast 
downward. ; 


Panel 714x534 inches. 


No. 76 
H. MERVIELS 


Od ‘lp O- Marine 


Seagoing vessels and smaller boats seen in the turbulent waters of a 
channel, above which is a stormy sky. 


Signed a lower right. 
Canvas 29x42 inches. 


No. 77 
COR. HUYSMAN 
Landscape 


The foreground is an old village with tall pointed roofed buildings, be- 
neath towering trees. On the right men are assembled about a low ravine; 
and beyond mountainous hills rise against a deep blue sky overcast with white 
clouds. 


Canvas 814x10 inches. 


No. 78 
LEON BONNAT 


| ur O , Italian Girl 


Half length sitting figure of a young Italian girl, leaning on a stone balus- 
trade, her body turned to the left, her head resting on her right arm and looking 
at the observer. 


Canvas 26x22 inches. 


No. 79 
FRANZ FRANCKEN (The Younger) 
| Crucifixion 
ees fauires and in brilliant colorings. 


Painted in Enamel Colors on Copper Panel 17x21 inches. 


No. 80 
GEORGE. HAQUETTE Pe 
(French, 1854-1906) 0; 


Hauling in the Nets 


A fishing boat with sails down rolls in the waves. Two hardy fishermen 
are hauling aboard their seine. In the stern sets a boy watching. Further 
away_another boat of the fleet can be seen. The green waters are met at the 
horizon by banks of grey clouds. 


Signed at lower left. 
Canvas 30x43 inches. 


No. 81 


ASDOEERY, 
(French, 1841-1910) 


Moonlight 


A river scene, with small pleasure boats plying about in the moonlit waters. 
The shore on the left is an old homstead, with tall trees in the shadows. The 
clouded sky is broken where the full moon shines through 


Signed at lower left. 
| Panel 9x16 inches. 


No. 82 


LOUIS GABRIEL EUGENE ISABEY 
(French, 1804-1886) 


Town of Havre 


View from the water front where an old arched bridge crosses. A fishing 
‘boat is moored in the stream. Storm clouds cast the city buildings under deep 
shadow, the light falling from the left upon the bright colored costumes. 


Signed at lower left. 


Canvas 18x15 inches. 


No. 83 
VESTORE MAES 
The Tug of War 


Two chickens fighting for possession of a. piece of blue ribbon. Each 
holding an end and lustily pulling. 


Signed at lower left. 
Canvas 24x36 inches. 


No. 84 


JAMES STARK 
(British, 1794-1859) 


Landscape 


A low landscape, with a rough road running from the foreground, along. 

which the figure of a young woman is walking. In the middle distance is a 

- windmill on a knoll, and on the left a thatched cottage and cows grazing. The 
distant hills lie under dark rolling clouds. 


Signed at lower right. 


Canvas 18x12 inches. 


No. 85 
AUGUSTUS KOOPMAN 


(American) 
90 ‘ Arbor Grotto 


An Italian garden scene. The grotto is formed by broad arching arbors 
covered with vines, through which the light shines with golden brilliancy on a 
picturesque interior where several figures seated at tables are enjoying luncheon 


Signed at lower right. 
Canvas 29x36 inches. 


No. 86 
FREDERIC NUNN 


(American) 
Sailing 


In dark blue waters two yachts are seen sailing, one rounding to the star- 
board, the other making straight ahead, both under full sheets. The sky over- 
cast with sweeping grey clouds. 


Signed at ‘ower right. 
| Canvas 25x30 inches. 


Original sketch in possession of owner. 


No. 87° 
C. ARNOLD SLADE 


(Contemporary American) 
On the Maine Coast 45 a 


Swirling and leaping among bold clusters of rocks lying low off the shore, . 
the waters of the sea glistening with many colors filtered by the sunlight through 
a misty atmosphere play along the shore, and into the distance where the open 
sea meets the horizon. 


Signed at lower right. 
Canvas 32x40 inches. 


No. 88 


FRANK A. BICKNELL 
(American, 1866) 


The Coast—Island of Monhegan, Maine 


The waters of the sea coming in from the left mingle with the low rocks 
and crags and dip into the crevices. On the right the rocky coast rises in solid 
mass out of the picture. 


Signed at lower right. 
Panel 12x16 inches. 


No. 89 
W. H. WOLF 


(American) 
American Indian 


Seen from a mountain height against the sky is the figure of an old warrior 
astride his horse, turned to the right across the picture, surveying the distant 
valleys and hills, holding in his right hand a long spear, and clad in full brave 
attire, with feather head dress. 


Signed at lower left. 


Canvas 24x18 inches. 


No. 90 
BENJAMIN HARLEY 


(American) 
Night Fete on the Seine 


Under a dark sky, gathered along the shore of a lake a large number of. 
persons are taking part in revelries, some of which wear fantastic costumes 
and carry lanterns of brilliant colors, and lanterns strung about the shore cast 
their reflections in the water. 


Signed at lower right. 


Canvas 18x21 inches. 


No. 9] 
P. F. ROTHERMEL 


(American) 
Richard Coer de Leon qs. 


King Richard clad in crusaders mail is seen entering the chapel from the 
right, discovering King John, seated on the left with his Queen. His presence 
has not been discovered by them and the Queen’s tragic face, as she sits with 
her hands interlocked on her lap, depicts her fear. Behind this group are the 
figures of three men silently watching. A strong light is reflected on the figures 
at the left while the background interior is in deep sahdow. 


Signed at left. 
Canvas 36x29 inches. 


No. 92 
THOMAS R. CONGDON 
6 O. 


The Old Sport 


A man of ordinary pursuits, seen at three-quarters length standing, with 
head turned to the right, left hand thrust into his pantaloons pocket and the 
right holding a cane. The dark hair falls below an old flat-top hat, which has 
seen better days, he wears a large red scarf and a white linen vest under a 
black coat. 


Signed at lower right. 
Canvas 40x32 inches. 


No. 93 


CHARLES FROMUTH 
(French) 


Chemin de la Croix—Effit du Soir 


Seamen’s chapel on the banks of a river, where sailing boats are moored, 
lighted by the afternoon glow of the setting sun. Figures of the sisters of the 
church can be seen walking about. 


Signed at lower right and seal on left. 


Size 1814x131% inches. 


No. 94 


C. BIANCHINE 
(Italian) 


Ideal Head 


Head and bust of a French lady, her figure turned to the left and her head 
poised slightly upward and to the front gazing placidly at the spectator. She 
has chestnut brown hair, dark brown eyes, a round, well-moulded face and 
neck, with white dress, seen against a background of bluish tint and dark and 


light shades. 


Signed at right. 


Canvas 22x17 inches. 


No. 95 
W. H. CLARKE . 
Watching the Herd f SD : 


On a steep bank near a stream cows are grazing beneath trees and about 
an orchard. A young woman tending them, sits in the foreground looking at 
the observer. Sunshine and shadow play about the mistic landscape and the 
blue grey sky is reflected in the waters. 


Signed at lower left. 
Canvas 20x24 inches. 


No. 96 


ARTHUR B. DAVIES 
(American, 1862) 
3 0-0. 


Romance 


A young woman stands beside a harp studying a sheet of music which she 
holds. 

“In his early period Mr. Davies painted exquisite scenes and charming 
figures. This picture belongs to that period and is imaginative and full of 
romance, as the name implies.” 


Signed at lower left. 
Panel 13x10 inches. 


No. 97 


C. WARREN EATON 
(American, 1857) 


The Mill Pond 


5 Mirrored in the still waters of a pond is the green landscape reflecting the 
hills, trees, rocks and bushes and the houses on the neighboring hills on a 
quiet day. 


Signed at lower right. 
Academy Board Panel 12x16 inches. 


No. 98 


CHAS. MELVILLE DEWEY 
(American, 1849) 


4 Oe Twilight 


This early evening landscape shows the forms of the houses, trees, cattle, 
etc., in the uncertain deep shades when the moon has just risen, and its reflection 
in the water is the only other indication of its presence. 


Signed at lower left, 
Canvas 22x30 inches. 


No. 99 


JOHN LA FARGE 
(American, 1835-1910) 


[ (o @. Japanese Peasant Girl 


Clad in native costume, walking and leading a brown horse with trappings, 
along a road where the landscape is wild and hilly. 


The easel pictures of this artist very rarely are found. This one was made 
on one of his trips to the Orient. 


Signed at lower right. 
Panel 14x16 inches. 


No. 100 
MAXFIELD PARRISH 


(American—Contemporary) 
Hermes Lf : 


Standing on a rocky height, draped in a long brown cloak, against a deep 
blue sky with soft grey clouds. 


“Unlike some of the pictures of this artist ‘Hermes’ is delicate and quiet 


in tone and color. The figure is artistically conceived, and leaves free play to 
_ the imagination.” 


Signed at lower right. 
Panel 30x15 inches. 


No. 101 


CARLETON WIGGINS, N. A. 
(American, 1848) 


The Road to Moncour 7s. 


A group of giant old trees meets the eye, standing prominently on the 
right, beneath which the road passes. A man walking with a horse, in the 
- distance cattle grazing, give life to the landscape. 


Signed at lower left. 
Canvas 13x10 inches. 


No. 102 
LILLIAN GENTH 


(American) 
Oriental Head 


Head of a young woman of the harem, with long flowing reddish blond 
hair falling across the forehead from beneath a blue mantle of filmy texture 
which is draped over the head fashioning a hood, which she holds in at the neck, 
and which falls over the shoulders, revealing the outlines of the body faintly. 
The light from above falls on the round face wreathed with smiles. 


Signed at lower right. 
Canvas 20x16 inches. 


No. 103 
OLD MASTER 
Moses Smiting the Rock 


The story of Moses and his followers is here depicted with lavish detail. 
Surrounding the Rock are a multitude of people, with Moses the central figure, 
with hands upraised and clasped in the act of prayer. The water is pouring 
forth in a stream from the rocks and the people are filling every vessel they ¢ can 
bring into use, their faces filled with wonder and joy. 


Canvas 4 feet 2 inches by 9 feet. 


No. 104 


MARCIUS P. SIMON 
(American, 1867-1909) 
\* oe 


The Spiritual Light 


Great masses of human figures appear on the left and on the right. Those 
on the left crowding forward in darkness to hail the dawn of a new day, while 
on the right where the great rays of light have fallen all is beautiful and bright 
and the people welcoming the coming of the spirit with joyous shouts and up- 
raised hands, as they look toward the centre of the dome where the figures of 
the allegory appear in the air, bearing the open book, the Bible, borne by 
angels amidst a burst of vivid golden light above the earth. 

This sensitive artist who, though an American, and spent most of his time 
in Paris, was perhaps the foremost man of his day in painting pictures that 
were replete with imagination and spiritual insight. The late Theodore Roose- 
velt was a great admirer of his, and there are at the present time at Oyster Bay 
several of Marcius Simon’s: masterpieces. 


Signed at lower left. 


Canvas 36x58finches. 


No. 105 


JOHN LA FARGE 
(American, 1835-1910) m/e bo, 


The Missionary 


In a rocky mountainous country, void of habitations, heavily shaded under 
a stormy sky, standing on an eminence, a missionary, travel-worn and weary 
of foot, has stopped and is leaning against his long stiff. His hair is long and 
shaggy as is his beard, and his features coarse and dark in tune with the heavy 
atmosphere. He wears a heavy suit of Monks’ attire, with the large flat- 
brimmed hat fastened upon his left shoulder, and sandals on his feet. 


Signed at lower left. 


Canvas 47x331% inches. 


No. 106 


THOMAS MORAN 
(American, 1837) 


Dismal Swamp, Virginia 5 3-é. 


The thick forest opens on one side, giving a little light to the dense growths 
of thick old trees. In the foreground an almost stagnant stream enters, through 
which Negro slaves are wading—a man, wife and child—evidently trying to 
make their escape through the morass, pursued by bloodhounds which are nearly 
upon them, and the man prepares to defend with knife and club. Along a path 
in the distance two men are coming forward through the deep shadow. A shaft 
of light striking the left reveals the vine-covered trunk of a giant fallen tree, 
emerald foliage, tough grasses, and other wild growths abound below, while 
above all is in deep darkness. 

This picture painted in 1862, as a protest against slavery, and was ex- 
hibited in London, 1869, as a further protest. 


Signed at lower left. 
Canvas 34x44 inches. 


No. 107 
CHARLES W. HAWTHORNE 


(American) 


uy 4 oi Reverie 


- Portrait of a girl sitting in a green arm chair, turned toward the left, her 
eyes looking downward in a reverie. The filmy dress dropped low reveals the 
shoulders and chest, and falling over the back a cloak of yellow and reddish 
tones reaches to the floor. A dark mottled background of brown and deep 
green tints. 

“This canvas is a fine example of Hawthorne at his best in color and 
craftsmanship. The figure is solidly painted and the rich tones of the cloak 
and of the dress make an exceedingly attractive combination.” 


Signed at lower right. 
| Illustrated 


Canvas 30x24 inches. 


No. 107 


No. 108. 
CEORCE DE FOREST BRUSH 


(American) — 
|= O- | — Onatogas Sacrifice 


This picture shows the figure of an 1s Bite kneeling 7 1 


with face turned upward, left hand over the heart, and right extended | 
~ him, the muscular body clad in a breach-cloth. The bare trunks of | 


without leaves suggest winter. Done in black and white. 
Signed at lower left. # SS ae 
Canvas 28x21 inches. 


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No. 110 


GEORGE FULLER, A. N. A. 


(American, 1822-1884) 
pgs od, 
Gathering Fagots 


The view extends across a broad plain of flat country where little can be 
traced save thin herbage, and a few saplings extending out from the foreground. 
The figures scattered through the scene are simply but clearly stated, and are 
bathed in an atmosphere which seems to suggest the twilight hour. Painted 
in tones which we have associated with George Fuller at his best; rich, warm 
and transparent. 

This canvas was invited to the Memorial Exhibition, held at the Metro- | 
politan Museum of Art, New York. 


Signed. 
Illustrated 


Canvas 3314x44 inches. 


No. 111 


EMIL CARLSEN, N. A. 
(American, 1853) 


et-O. Wood Interior 


A path through the woods would be a conventional title for this composi- 


- tion, but more than the sunlit path, there is a sylvan landscape full of rich color 


47 5- 


and drawing revealing the poetry of the woodlands in many different aspects. 
Following up the steep slopes on either side trunks of tall slender trees stand 
out like sentinels, and through the mazy distances the lace-like texture of the 
delicate foliage almost hides the sky. 

This was one of the most admired pictures at an exhibition at the Art 
Club in Philadelphia, and shows Carlsen at his best with its tender color and 
exquisite suggestion of early spring. 


Signed at lower right. 
Canvas 36x28 inches. 


No. 112 


WILLIAM MERRITT CHASE | 
(American, - 1849-1916) 


Holland Landscape—The Haystack 


Lying under a sky overcast with grey filmy clouds and silhouetted against 
the sky on all sides rises a deeply shaded landscape, where groves of tall trees, 
houses, windmill, and low hills reach across the composition. The foreground 
is low and flat, mostly in meadow and water reflections. On the left stands 
a rick of hay, and a man with basket on his arm moving away, and further in 
the distance is the figure of a woman at work in a field among vegetation. 

‘Tt is descriptive of the best that Chase had to offer in American land- 
scape. It is almost suggestive of Innes at his best.” 


Signed at lower left. 
Illustrated 


Canvas 35x45 inches. 


No. 113 


WILLARD L. METCALF 
(American, 1858-1925) 
Sod, 
: Red Oak 

The scene is a broad expanse of mountain country with steep rolling hills 
almost bare of trees, except for a few thin saplings at the side of a hill in the © 
foreground, and a giant red oak in the valley below, its heavy black trunk 
- reaching high, and covered with thick bushy branches of red and brown foliage, 
and catching the sunlight almost blazes with glory. Looking up at the brink 
of the hill the roofs of farmhouses rise against the sky. Along the hillsides 
sheep grazing amongst the thin herbage and stony slopes. In the bright blue 
sky floats stratas of thin grey clouds and billowy white clouds rising from 


behind the hills. 


This painting is the most important one ever exhibited by the artist, to 
quote his own words, and received the gold medal at the Academy of the 
Fine Arts, 1912. 


Signed at lower right. 
Illustrated 


Canvas 40x43 inches. 


No. 114 
GEORGE INNESS — 


Ur bo-© : (American, 1825-1894) 


Riverhead 


In the foreground a pool of water, simply and easily painted; to the left 
a small building at the head of the lake. The distance is made up by some 
charming trees with an attractive blue sky overhanging the composition. 

“This is one of the most delicate and poetic of Inness’ pictures done in 
‘his most poetic period (1890). 

Mr. Eliot Daingerfield in one of his books mentions this picture and gives 
some of the detail of the painting of it which he personally witnessed.” 


Signed at lower right. 
Illustrated 


Canvas 20x30 inches. 


No. 115 


H. GOLDEN DEARTH 
(American, 1863-1918) 


G2 9. 


Strong, well-fortified rocks and crags jut out from the near shore mingling 
with the heavy sea where it rolls in, crashing against them and breaking into 
creamy white foam and mighty swirls. At the breaker line the heavy swells 
roll in majesticly. In the distance a cove is seen with a line of low hills against 
the horizon under a grey clouded sky. 

Mr. Dearth went through several interesting changes of style during his 
career. This is a splended example of his latest and by far the best period when 


he saw the sea at his sunniest, and the bright refulgence of light in a splendid 
high key. 


Sea Scene 


Signed at lower right. . | 
Illustrated 


Panel 21x26 inches. 


No. 116 


"WILLIAM KEITH 


is oy (American, 1839-1911) 
: Landscape 


With the approach of evening golden sunlight tints the horizon and mingles 
with the dark misty storm clouds which, high up, cover the heavens. On the 
right in dark shade rises a thick woodland, through which the tree trunks and 
other outlines are barely discernible. To the left a sparkling stream catches the 


light, and low open landscape stretches to the horizon. The figure of an old 
lady is seen sitting on the right bank. 


Signed at lower right. 


Cradled panel 2214x2614 inches. 


No. 117 


HORATIO WALKER, N. A. 
(American, 1856) 


Landscape and Cattle | 3 7 oe 


In the foreground a black and white Holstein cow grazes in a lush meadow, 
further away a brown cow rests on the ground. On the left are a row of farm- 
houses with red roofs, and on the right the view opens to the horizon where an 
expansive plateau of Dutch landscape shows forms of peasantry, cattle, domestic 
environments, &c. 


Signed at lower left. 


Canvas 11x18 inches. 


No. 118 


DOUGLAS VOLK, N. A. J pb. 
(American, 1856) 


A Summer Reverie 


A young woman clad in white sits upon the bent trunk of a tree, her head 
resting against the upper part as she reads from a book, shaded from the bright 
rays of the summer afternoon sun. Beyond her a rolling green hill comes down 
from the right, dipping toward a low plateau of varied hues and composition. 


Signed at lower right. 


Canvas 21x17 rrches: 


No. 119 


| 2@©.  parpH ALBERT BLAKELOCK, N. A. 
(American, 1847-1919) 


Woodland 


‘This picture is a particularly attractive example of the artist’s best style, 
sensitive in treatment with unusually fine relations of tone and color. The strong 
accent upon the heavy tree trunk throws into splendid relief the foreground and 
the middle distance. Unlike some of Blakelock’s painting there is no attempt 
here to use startling color, but the artist depends upon sincere feeling backed 
by good craftsmanship to produce this splendid work of art.” 


Signed at lower left. 
Illustrated 


Canvas 16x24 inches. 
Purchased from M. Knoedler & Co. 


USIS- Ow comacgrrrnent Yorn hearch A Kawi NlAntle (9 1b- 
SotK V pias teey Galleria fteavels 1gth- BMKKK, 


No. 120 
GEORGE INNESS 


Lt b OO (American, 1825-1894) 


Perugia and the Valley 


This picture is instinct with the spirit of the Italian people and of the lovely 
vistas that are part of the charm of Italy. The foreground is well peopled, there 
are sheep grazing and the middle distance has many interesting incidents of 
out-of-doors life. To the left is a high wall, probably of the town of Perugia — 
itself. The sky line is broken by pointed trees that are again so typically a part 
of the Italian country scenes. 

‘This painting is one of the most beautifully finished pictures painted by 
Geo. Inness during his Italian period, which took place in the seventies. At this 
point he was emerging from his early period and taking in the beautiful Italian 
landscape and painting it with a new sense of color and charm. The painting is 
in a splendid state of preservation and forms a document of the greatest of our 
landscape painters that make it a rare work of art.” 


Signed at lower left. 
Illustrated 


Panel 30x45 inches. 


No. 120 


No. 121 


THOMAS W. DEWING, N. A. 
(American, 1851) 


A Satyr 


{ eo, In the depths of the forest sitting alone on the mossy ground, her hands 
locked behind her neck and her head resting between them, the light falling 
from above heightening the flesh tints is the nude half human figure looking 
out carelessly from beneath a head of matted dark hair. Cymbals lie beside 
her, a green plant shoots from the ground, and above a few red flowers on the 
bush add a note of color to the sombre surroundings. 


Signed at lower right. 


Canvas 16x10 inches. 


No. 122 


GEORGE FULLER 
(American, 1822-1884) 


5 0° The Dream Child 


The figure of a little girl with fluffy blond hair, carrying flowers picked 
from the woods, which she is admiring. The head seems surrounded with a 
halo and as we examine it it seems to take form and become more and more 
distinct as we watch it. 


Signed on back of canvas. 


Canvas 17x13 inches. 


No. 123 


CHAS. MELVILLE DEWEY 
(American, 1849) 


The June Morning 


The light mists of the early morning pervade a landscape seen from the top 
of a hill where a clump of trees spread their foliage, and scattering thin trees 
shoot up here and there eager for the sunshine. Looking away toward the 
horizon the top of a house appears just below the hillcrest, and beyond is a 
vista of low lying country bordered by low flat hills. 

“This painting is perhaps the most poetic ever turned out by this modern 
Master. Painted by Mr. Dewey in his prime it contains the epitome of his 
knowledge and his deep artistic insight.” 


Signed at lower right. 
Canvas 28x43 inches. 


SO 


No. 124 


WILLIAM KEITH 
(American, 1839-1911) 


Lb 4 5 Mountain Landscape 


Snowcapped Alps rise majestically over the lower ranges of shaded hills 
in the middle distance, and extending to the right out of the picture. In the 
foreground a flat plateau occupies the valley, where a field of golden grain is 
being harvested by the farmers. Bordering the fields tall cedars appear above 
the lower growths of bushes and shrubbery. The foreground in clear notes of 
bucolic composition contrast with the more sombre setting in the distance. 


Signed at lower left. 


Canvas 38x64 inches. 


No. 125 


ALEXANDER H. WYANT, N. A. 
(American, 1836-1892) 


The Rivulet oe al ay, 


Entering the fastnesses of a forest a mountain brook tumbles down from 
the left over mossy rocks into a deep pool in the foreground shade. Looking 
back through an opening in the forest as the glen rises, the sunlight forces its 
way in sparse shafts, exhibiting a wild landscape. 

“Wyant is here shown in his early period when he painted with marvelous 
sureness the natural scenes that he loved-so well. He has reproduced the spirit 
of the little pool and the moss-covered rocks. It is an intimate scene from which 
the world is entirely excluded and he has concentrated the mind right at the 
spot that he painted’ so well.” 


Signed at lower left. 
Canvas 18x24 inches. 


No. 126 


HENRY W. RANGER, N. A. 
(American, 1858-1916) 


Three Trees f PO, 


Along a bright river a small cove curves in, three trees stand on the near 
shore, near a point where other thin trees range in the middle distance, under 
rolling white and grey clouds. 


Stamp on back of panel. 
Size 12x16 inches. 


No. 127 


, WALTER GRIFFIN 
ae 5 le) (American) 
Old Stroudswater Bridge 


Across the composition in the middle distance a bridge crosses a stream, 
its stone abutments resting on either side against the high banks. Beneath 
the bridge is seen the water falling over an old dam. Tall thick trees reach 
from either side and in the distance on the left houses nestle beneath old trees. 
The filtering of sunlight and shade add to the strong coloring boldly treated. 


Signed at lower right. 


. 


Canvas 33x36 inches. 


b 


No. 128 


EMIL CARLSEN 
(American, 1853) 


Maine Coast 
A bit of seacoast with huge boulders along the shore. 
Signed at lower right. 
Panel 614x814 inches. 


No. 129 
JOHN JACKSON 


(American) 
Self Portrait vi a Se 


Body in profile to the left, head turned three-quarters front, looking at 


the observer. The blue eyes strongly arched, features well rounded and ruddy. 
The dark bushy hair brushed back from the forehead. He wears a black coat, 
with high rolling collar, stock and black scarf, and a white ruff. Painted when 
the artist was about thirty years of age. He was known as the portrait painter 
to the King, and this particular canvas is an especially brilliant example of his 
work. A very similar self portrait, but painted at least fifteen years later, now 
hangs in the National Portrait Gallery in London. 


Canvas 30x25 inches. 


No. 130 


HENRY INMAN, N. A. 
(American, 1801-1846) 


Portrait of George Billmyer, Early Germantown Printer 


Three-quarter length standing, wearing a cape topcoat, cut low and opened 
in front, revealing a white shirt front and black scarf. The features are full 
and round, the eyes blue and turned toward the left. The hair brown, brushed 
across the high forehead, and he wears a short beard. He stands three-quarters 
to the right against a dark blue tinted background with a touch of landscape 
to the right and a thick column on the left. He was a well-known printer of 
early theological books, hymn books and Bibles and one of the first to attain 
fame in Philadelphia, and this portrait hung for many years in his old home in 
Germantown. 


Canvas 36x30 inches. 


No. 131 


THOS. SULLY (Attributed to) 
- (American, 1783-1872) 


Portrait of a Gentleman 


Sitting slightly to the left, with large brown eyes looking at the spectator 
with keen expression. He has a high round forehead, high cheek bones, dark 
hair thin in front and falling over the ear at the side. He wears a black coat 
with high rolled collar, stock and scarf. Background is a red curtain and round 
column or pillar. 


Canvas 30x25 inches. 


No. 132 


- SAML. FINLEY BREESE MORSE 
(American, 1791-1872) 


Portrait of Dr. Chas. Thomas Jackson 74. 5. 


Nearly half length portrait with body to the front, and head turned three- 
quarters to the left. He wears a black civilian coat with high collar, double 
breasted and buttoned low, revealing a full white jabot and stock collar. He 


‘is smooth shaven and his dark hair is brushed carelessly forward, with an intent 


expression from his brown eyes, through gold-rimmed spectacles. His complexion 
is full colored, features solid and well rounded, with slight double chin. A 
neutral background of brownish tone. Dr. Jackson was one of the co-workers 
with Morse in his electrical experiments and is mentioned in some of Morse’s 
writings. This is a splendid example of Morse’s art. 


Canvas 30x25 inches. 


No. 133 


REMBRANDT PEALE 
(American, 1778-1860) 


| a5 x, 3 Christ 


Head and bust of Jesus Christ in an oval painted on the canvas. With 
face to the front, the large blue eyes are turned toward heaven. Light reddish 
brown hair parted in the middle of the forehead hangs to the shoulders and 
he wears moustache and beard. The body is covered with a bright red fabric 
and one shoulder is covered by a brown cloak. An effulgent light bursts from 


behind the head in gold and reddish tints. 


Signed at lower left—R. Peale. 
Illustrated 


Canvas 30x25 inches. 


No. 133 


No. 134 


THOMAS SULLY 
| HOO, (American, 1783-1872) 


The Spanish Mantilla 


The figure of a lady in her young prime is seen at bust length, holding a 
guitar, her left hand touching the lower frets. Her light brown hair parted over 
the centre of the forehead falls in long tresses and curls over her shoulders. She 
has large brown eyes looking to the left where her oval face is turned. . Her 
black dress falls low over the shoulders and is met by a lace mantilla which is 
draped from the head. A neutral background of brownish tints. 

Dedicated and presented to a friend of Sully’s, and so inscribed by him on 
the back of the canvas. This picture was at one time in the collection of Wm. 


M. Chase. 
Canvas 24x20 inches. 


3X ww 19417 


Vi Cheeni 


No. 135 


THOMAS SULLY f 
(American, 1783-1872) 


Portrait of Dr. Jackson 


Portrait of a gentleman with wavy grey hair and light side whiskers. Fore- 
head broad and deep, keen brown eyes, well-rounded face and chin. Slight bust 
length, with high turned coat collar, a deep black stock covering his neck. Seen 
against a mottled background of brownish tone. 


Signed with monogram at lower left. . 


Canvas 20x17 inches. 


No. 136 
ARTIST UNKNOWN 


(American) 


iat 


Portrait 


Portrait of a gentleman nearly half length and sitting three-quarters to the 
left, with head turned to same direction. The features are firm and strong, with 
large blue eyes deeply arched, straight nose, and rounded chin. The hair is 
dark and wavy and is brushed forward on the side, as are the side whiskers. 
He wears a black coat with deep turned collar, cut low, black waistcoat, white 
kerchief and high collar. Seen against a neutral dark background, with the 
semblance of an arched wall on the left. 


Canvas 30x25 inches. 


No. 137 


CHARLES FREDERICK NAGEL (Attributed to) 
(American, 1857) Jé Sr 


Portrait of a Gentleman 


Half length, sitting three-quarters to the left, with hands crossed in the 
lap. Head turned front, looking at the observer. He has a full round face with 
ruddy complexion. The dark hair is roughly brushed forward above the ears, 
the eyes dark blue look through spectacles. He wears a black coat, cut low, 
and with high rolled collar, a white kerchief and stock collar. He sits against 
a red background with a bit of landscape, -and on his left is a desk, books and 
inkstand. 


Canvas 36x291% inches. 


No. 138 


WILLIAM MERRITT CHASE, N. A. 
(American, 1849-1916) 


TRS, Twilight in the Studio 


A self portrait of the artist, sitting at his easel in the evening glow, body 
three-quarters to the left, his face as he turns toward the spectator almost full 
front. He wears a black civilian suit, with a red boutonniere fixed on the left 
lapel. As he sits before his canvas his right arm is extended toward it, and his 
palette and brushes are held in the left hand. The details of the room are seen 
in the sombre light on the wall behind him, where pictures reflect the light. 
“Unlike a number of self portraits of Chase this has not even a suggestion of the 
theatrical, it is tender and charming in tone.” 


Signed at lower right. 
Illustrated 


Canvas 36x29 inches. 


No. 139 
SAINT MEMIN 


(American) 
Crayon Portrait of Wm. McHenry, Maryland (Original Drawing) 


Head in profile to the left, life size, the long hair gathered in at the back 
and tied near the shoulder. The short hair in front brushed down over the fore- 
head and curled at the ear. The eye is keen, the nose straight, the cheeks and 
chin round. He wears a black coat with high turned collar, and on his neck 
a kerchief and jabot. A typical portrait of St. Memin’s done upon the occasion 
of his visit to America in Colonial times. This picture was shown in the Pan- 
American Exposition in San Francisco in 1914. 


Illustrated 
Size 24x18 inches. 


No. 139 


No. 140 


CHAS. EMILE JACQUE 
(French, 1813-1894) 


4 0-0 4 Shepherdess Guarding Sheep 


A shepherdess has brought her flock to a watering-place where a shallow 
stream winds beneath stately old trees, their boughs extending up and out of 
the picture as they catch the light filtered through, their barks and leaves 
glistening with the rays of the sun. On the left the landscape dips along the 
narrow stream where thatched roof barns and an old orchard flank the picture, 
and where the open fields and meadows lie under the sunlight in the distance 
along the horizon. White clouds passing over the blue sky shimmer in the 
sunlight. 


Signed at lower left. 
. Illustrated 
Canvas 30x40 inches. 


No. 12 in the Catalogue of the sale of the Estate of Charles E. Jacque, sold at 
the Georges Petit Galleries, Paris, Nov. 15, 1894. 


“a i 


No. 141 
JEAN LEON GEROME 


q. o0- (French, 1824-1904) 


Turkish Penitence 


Within the sacred recesses of a mosque, men are praying before a draped 
altar, behind which a white bearded priest stands, wearing a white turban. On 
the floor in front of the confessional box a dark-skinned man in red hood and 
black cloak sits in solemn contemplation. Behind him a man in blue is making 
a low salaam, his head resting on the floor. Beside him on his left a man in 
white robes stands in the attitude of prayer, the strong light from the window 
behind shining on him and on the floor, adding a bright touch of light to the 
already colorful composition accentuated by the background of grey walls. 


Signed on the left. 
Canvas 26x36 inches. 
From the Collection of the late Peter Schemm. 


Purchased at the American Art Association. 


No. 142 


SIMON PINCKNEY MARCIUS 
(American, 1867-1909) 
mi (a5. 


Kreutzer Sonata 


Representing an angelic host gathered across the heavens, and reaching 
to the earth, blending in cloud-like masses. In the foreground a rocky land- 
scape, the blue of the heavens reflected in its tones, gradually rises to summits 
unknown. Above, the crescent moon diffuses her silvery light through the 
composition. One of Marcius-Simon’s spiritual subjects, so well known and 
_ much admired for their depth of poetic thought. 


Signed at lower left. 
Canvas 32x44 inches. 


Purchased direct from the artist. 


No. 143 


JOHN CROME 
NU 0. (Called Old Crome. British, 1769-1821) 


Landscape 


The view extends from a high hill, dipping into and across a valley miles 
in length to the blue hills of a mountain range in the distance. In the fore- 
ground a woodman stands talking to another man who is sitting on a huge 
log. Towering on the hillside is a forest of old trees clothed in their summer 
plumage, and diffusing their colors brilliantly in the sunlight. The blue sky 
is overcast with clouds tinged with pale sunrays. 


Illustrated 


Canvas 


No. 144 


JEAN BAPTISTE CAMILLE COROT 
(French, 1796-1875) 


it OO. | Landscape and Village 


Rising on the left crowning the brink of a hill a row of grey buildings with 
red tops follows the contour of the rolling ground. On the left a narrow stream 
flows in the hollow shaded by old trees which reach across it, and into the 
sunlight. In the foreground is the figure of a man, and in the distance, houses 


and low hills on the horizon. No. 1939 Robaut’s Book on Corot. 


Signed at lower left. 


Canvas 8164x1234 inches. ~ 


No. 145 


JUEES- DUPRE 
(French, 1812-1889) 


\9 0. Landscape 


The storm clouds of a showery day linger in the heavens and along the 
horizon. In the foreground cattle drink and bathe in the cooling water, where 
a clump of old tall trees shade them. On the left the farmhouses with thatched 
roofs nestle beneath the trees. 


Signed at lower right. 


Canvas 16x26 inches. 


No. 146 


SIR JOSHUA REYNOLDS LT ie 
(British, 1723-1792) : 


Dr. John Hunter 


President of London Medical Society in 1781. Half length portrait sitting, 
with left elbow resting on a table, and the hand against the chin. The head 
turned toward the observer shows keen dark eyes, a round and ruddy face, 
with strong features. The soft grey hair is brushed back from a high forehead 
and falls in large puffs at the sides. Against a dark background of brown tones. 


Cradled panel 30x24 inches. 


No. 147 


SIR JOSHUA REYNOLDS (Attributed to) 
(British, 1723-1792) 


4 2 5: The Dawn 


The full length figure of a young woman, with head turned in profile to 
the right in admiration of the rising sun, whose rays are darting out from be- 
hind a distant hill. Her figure is Grecian, with light brown hair, blue eyes, 
round crimson cheek and chin. She is clad in a low cut white robe revealing the 
breast and arms. A stretch of the dark waters of the sea is on the right. 


Canvas 50x41 inches. 


No. 148 


_CHAS. EMILE JACQUE 
French, 1813-1894) 


: | VS. ; a rha _.. Landscape and Sheep 


Sheep grazing in a meadow attended by a shepherdess and her dog. They 
are seeking the lush herbage away from a grove of pollard willows. A roadway 
runs across the middle distance on the farther side bordering ‘a- dense forest. 
The blue sky is overcast by scurrying white and grey clouds. 


Signed at lower right. 
“Panel (9x0 anche 
From the Collection of Senator Charles H. Winfield, Jersey City, N. J. 


No. 149 


PAULUS POTTER 
(Dutch, 1625-1654) 


Te ' , Driving in the Cattle. 


Storm clouds appearing over the landscape have caused the farmer to 
corral his herd. In the foreground the farmer is attempting to force a cow 
across a small foot bridge by a rope tied around her horns, and his little girl is 
urging her. On the knoll near them are other cattle. 


Panel 11x14 inches. 


No. 150 


RALPH ALBERT BLAKELOCK 
(American, 1847-1919) G e 


Moonlight 


The moon rises above a dark brown landscape casting its silvery reflections 
along the waters of a stream. Tall trees silhouetted against a moonlit sky, 
active with cloud forms. 


Size 9x1114 inches. 


No. 15] 


JEAN JACQUES HENNER 
(French, 1829-1905) 


Nymph 


Against a wooded landscape of deep toned green, with a slight touch of 
blue sky above, the nude figure of a nymph stands at full length in a streak of 
light, leaning on a stone balustrade in a garden. At her feet reflections appear 
in a small stream of water. The flesh tints are heightened by the sombre back- 
ground. 


Signed at lower right. 
Canvas 16x914 inches. 


No. 152 


THOMAS GAINSBOROUGH (Attributed to) 
(British, 1727-1788) 
: bo, 


Portrait 


An elderly lady of full round figure, sitting half length slightly to the right, 
with head turned and looking slightly toward the left, and leaning with her 
arm poised on a mossy rock at the left. Her face is plump and rosy, eyes blue 
and piercing, her wealth of grey hair is brushed up in a pompadour, with long 
tresses falling on her shoulders. She wears a dark mantle cut low, with a filmy 
white bodice and collar, revealing the body outline and flesh tints. She sits 
against the dark background of massive tree trunks, while a green and blue 


landscape is seen on the right. 


Canvas 19x17 inches. 


No. 153 
JEAN BAPTISTE COROT 
oO’ Landscape 


A low-lying summer landscape, with hills rising along the horizon. In the 
foreground a woman in white cap and blue cloak is seen near two pollard wil- 
lows on a knoll. 


Signed at lower left. 


Panel 5x914 inches. 


No. 154 


GEORGE FULLER 
(American, | 822-1884.) 


Nude -— 
aH eAZe- 
Surrounded by a sylvan landscape in the shade of the woods a nymph is 
seen at full length treading the cool waters of a shallow stream. 


Panel 10x7 inches. 


No. 155 


-ADOLPHE MONTICELLI 
Q oe (French, 1824-1886) 
¢ 


A Venetian Fete 


One of the artist’s chromatic fantasies dealing with the time of the Valois. 
This scene in the garden of a great palace behind a huge stone wall with baluster 
railings along a Venetian canal. Gondolas filled with gaily-dressed people are 


arriving at the broad steps at the entrance, throngs in the gardens and under 
the foliage of immense trees. 


Signed at lower right. 


Canvas 14x17 inches. 


No. 156 


JEAN BAPTISTE GREUZE 
(French, 1725-1805) 


Portrait | 15. 


Bust portrait of a man with round ruddy face, the grey hair brushed back 


_ and falling in ringlets upon his shoulders. He wears a blue military coat and 


vest with metal buttons and trimmed with a red collar, edging and a white 


kerchief. 


Canvas oval, 21x17 inches. 


No. 157 
R. L. NEWMAN 


(American) 


Madonna and Child 230 


The figure of the Madonna standing at full length, holding in her arms the 
infant Jesus. She is clad in a red dress with green cloak, against a sombre 
green and brown landscape background. 


Signed at lower right. 
Canvas 16x12 inches. 


From the A. E. Rueff Collection, formerly Curator of the Brooklyn Museum. 


No. 158 


WM. TROST RICHARDS 
(American, 1833-1905) 


= 0, Fast Castle, Berwickshire, Scotland 
4) 5 (Wolf's Crag of the “ Bride of Lammermoor’’) 


The winds and storms have gradually crumbled the ancient castle on the 
cliffs, till only the skeleton remains, the walls which once supported it still 
strong and defiant. The tops of the distant mountains appear grey and barren, 
rising to heights enveloped by the rolling misty clouds, while in the middle dis- 
tance the abutments of lower cliffs and crevices may be traced lying in shadow 
and tinted with sunlight. A romantic and diversified composition of rare 
technique and quality. 


Signed at lower left. 
Canvas 47x36 inches. 


From the Estate of the late George Stevenson, Philada., Pa. 


No. 159 
ete HENNER 
Bust 


Head and bust of a young woman with dark brown hair. Wearing a red 


cloak. Head to left. 
Panel 814x101 inches. 
From the Collection of Senator Charles H. Winfield, Jersey City, N. J. 


No. 160 
ALEXANDER H. WYANT 


(American) 
Water Color—Rocky Coast, Ireland 


Overlooking the sea which comes in from the left, below a range of moun- 
tainous hills, a thatched roof cottage nestles low, the solitary habitation of the 
neighborhood. Walking towards the house a woman in green skirt and red 


waist is carrying on her head a pail. Above is a blue sky covered with broken 
grey clouds. 


Signed near lower right. 


Water color 18x33 inches. 


No. 161 
F. BOUCHER (Attributed to) 
Classical Group 
Bacchanalian muse and cupid flying in the clouds. Brilliant coloring. 


Oval panel 11x17 inches. 


be 


someNor 162 
‘GLADYS THAYER 


(American) 
Pastel—Sea Coast 


A deep blue horizon Pet a pale bine misty sky, the be 
- ground i is covered with sand dunes and grasses. iat 


Signed at lower right. 


Colored pastel 16x26 inches. 


No. 163 
PIERRE MIGNARD 
Pastel—Equestrian Portrait 


Landscape surroundings. A scene outside of a tent. — 
2th. with filmy dark clouds. 


Are pastel drawing 28x) 0anehes 


ARTISTS REPRESENTED 


FROMUTH, Cuar es 


BIANCHINI, C. 94 FULLER, Grorcre 110, 122, 154 
BICHNELL, Frank A. 88 GAINSBOROUGH, Tuomas 152 
“BONNAT, LrEon 78 GEROME, J. L. 141 
BEECHEY, Srr WIitiiamM (al GRIFFIN, WatTER 127 
BONFIELD, Geo. R. 2 GREUZE, J. B. 156 
BILLET, Pierre 22 GENTH, Lityian 102 
BOUDIN, E. L. 43 GIBSON, A. D. 11 
BRUSH, Gero. bE Forest 108 GUARDI, Francisco 13 
BLAKELOCK, R. A. 119, 150 GALLAIT, Lovis 23 
BOUCHER, F. 161 GIFFORD, R. S. 37 
COURBET, Gustave 56, 63 HARLEY, BEnJsamMIn 90 
COTES, Francis 53 HAQUETTE, Grorczs 80 
CHAMPAIGNE, P. prE 51 HARDING, James 33 
CONAWAY, Jay 50 HONDECOETER, H. 34 
CHURCH, FREepERICK 35 HAMMAN, Eb. AT 
CASILEAR, J. W. . 29 HUDSON, Tuomas 52 
COROT, JoeB. C. 144, 153 HUYSMAN, C. 77 
CHASE, Wm. M. 112, 138 HAWTHORNE, Cuas. W. 107, 109 
CARLSEN, Emin lit, 128 HENNER, J. J. 151, 159 
, CAZIN, J. C. 68 INMAN, Henry 130 
CONGDON, F. R. 92 ISRAELS, Jos. 64 
CLARK, W. H. 95 ISABEY, J. B. 61, 82 
CHURCH, C. F. 137 INNESS, GEORGE 114, 120 
CROME, Joun 143 JACORACCI, A. 48 
CROFTS, Ernest 7 JACKSON, Joun 129 
CASTILLO, J. DEL 24 JACQUE, Cuas. E. 140, 148 
CABANEL, ALEXANDER 28 KOOPMAN, Avuaustus 85 
DEARTH, Henry GoLpEeNn 39, 115 KEITH, WItii1amM 116, 124 
DEHAVEN, FRANKLIN 30 LA FARGHE, Joun 99, 105 
DrJONGHE, Gustave LZ LINFORD, Cuas. 1 
DAUBIGNY, Karu 18 LAZERGES, J. B. P. S, 610,975 
DEWING, Tuomas W. ré LE DUC, VIOLLET 15 
DEWEY, Cuarues MELVILLE 98, 123 LAWRENCE, Str THomas 73 
DAVIES, Artuur B. 96 MAES, VesTor 83 
DELPY, A. 81 MERVEL, H. 76 
DIAZ, N. 62 MATHON, E. L. 5 
DESCHAMP, J. B. 44 MICHEL, GEorRGES 25 
DEARTHOIS, J. 45. MORO, ANTONIO 38 
DAVID, Louis 54 MORLAND, GEorGE 40, 65, 74 
DOUGLAS, P. H. 58 MARTIN, H. D. 67 
DUPRE, JULES 145 MURPHY, J. Francis 70 
EATON, Cuas. WARREN 31, 97 MIGNARD, Pierre 163 
FROMENTINE, EvcEeNne 55 MORAN, THomas 106 
FRANCKEN, FRANz 79 METCALF, W. L. 113 
93 MORSE, Samuet B. 132 


| MON TICELLI, ADOLPHE 


NEWMAN, R. L. 
NUNN, FReEpERriIc 
ORTMANS, Francis A. 
POTTER, W. J. SP. 
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PEALE, REMBRANDT ~ 
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ROUSSEAU, Tueo. 
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RIX, Juian 
ROBINSON, Hat. 
_ RYDER, Axpert P. 
RICHTER. Ce = 
RAEBURN, Sir Henry 
ROTHERMEL, T. E. — 
SCHLESINGER, Cu. 


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WALKER, Horatio 


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SAMBUSSETI, L. 
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